Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Laos and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Seoul kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Underground Resistance to the jazz kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Amon Düül II. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Pussy Galore,
Strawberry Alarm Clock,
The Sonics,
Smog,
Bronski Beat,
MDC,
Kauko Röyhkä ja Narttu,
Anthony Braxton,
Minnie Riperton,
Gong,
Rhythim Is Rhythim,
Ornette Coleman,
Chrome,
Camouflage,
Ultravox,
Monks,
Rosa Yemen,
Lonnie Liston Smith,
Qualms,
Marcia Griffiths,
Liaisons Dangereuses,
Louis and Bebe Barron,
Pete Rock & C.L. Smooth,
Jacques Brel,
Eurythmics,
DNA,
Deutsch Amerikanische Freundschaft,
Jerry's Kids,
Lou Reed,
The Mojo Men,
The Jesus and Mary Chain,
Newcleus,
Richard Hell and the Voidoids,
Mary Jane Girls,
Gichy Dan,
Kurtis Blow,
Manfred Mann's Earth Band,
Scott Walker,
Steve Hackett,
Byron Stingily,
Drive Like Jehu,
The Stooges,
a-ha,
The Men They Couldn't Hang,
The Selecter,
Matthew Halsall,
Black Flag,
Lucky Dragons,
Deepchord,
Dead Boys,
Popol Vuh,
The Real Kids,
Amazonics,
Television,
Roy Ayers Ubiquity,
Amon Düül,
Marine Girls,
Heavy D & The Boyz,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.